{"title":"New Releases","description":"","products":[{"product_id":"jessica-pratt-here-in-the-pitch-standard-black-vinyl-pre-order","title":"Jessica Pratt - Here in the Pitch - Black Vinyl","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eExclusive to the Mexican Summer webstore, Jessica Pratt's\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eLPs come with a free bumper sticker while supplies last.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the opening seconds of “Life Is,” it’s clear that\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”\u003c\/p\u003e\n\u003cp\u003e“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”\u003c\/p\u003e\n\u003cp\u003eIndeed, five years after her breakthrough album, 2019’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eQuiet Signs\u003c\/em\u003e—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators — multi-instrumentalist\/engineer Al Carlson and keyboardist Matt McDermott — Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”\u003c\/p\u003e\n\u003cp\u003ePratt quickly envisioned a more expansive set of influences—“big panoramic sounds that make you think of the ocean and California”—and the results are evident in the dynamic repertoire of instruments accompanying her graceful, dreamlike melodies. Throughout these nine songs, you will hear timpani and glockenspiel, baritone saxophone and flute alongside robust, layered vocal arrangements that create a triumphant mood, even when the lyrics hint at devastation.\u003c\/p\u003e\n\u003cp\u003eTo achieve this sense of musical resilience, Pratt cites\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePet Sounds\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas her “north star” in pursuing a fuller production style. But where plenty of artists look to the Beach Boys’ 1966 landmark as the untouchable precedent for symphonic grandeur, Pratt found herself drawn to the shadowy outskirts of those recordings. “It’s the atmospheric silence,” she explains. “There are times when you feel like you’re\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ejust\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehearing the studio for a moment. Those were always so intriguing for me as a young person, feeling like you could reach out and touch the texture of the sound in the air.”\u003c\/p\u003e\n\u003cp\u003eIf Pratt’s early albums—2012’s word-of-mouth favorite\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJessica Pratt\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand 2015’s devastatingly beautiful\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOn Your Own Love Again\u003c\/em\u003e—seemed beamed in from a dimly lit bedroom somewhere in the distant past, these songs stand on more solid ground. The tone can range from comforting and even chipper (“When you’ve fallen out, get both feet on the ground,” she reassures during the chiming chorus of “Life Is”) to a haunted, malevolent quality that feels entirely new in her songbook. “I became a bit of an amateur Manson historian over the period of time I worked on this record,” Pratt explains, noting the influence of Los Angeles’ strange, seedy history and the bleak end of the hippy era on songs like the twisted bossa nova groove of “By Hook or by Crook.”\u003c\/p\u003e\n\u003cp\u003e“I spend a lot of time worrying and imagining bad things happening,” Pratt confesses. “So maybe the idea of creatively inhabiting a character who wields the power is interesting.” You can hear this playfully villainous perspective emerging in her imagistic lyrics, although the clearest shift is in her vocal performance. While Pratt admits to always seeking inspiration from voices that sound like they’ve been “drug through life,” she worked on these songs to develop a fuller, more physical style that draws from the dignified baritone of Scott Walker and the weathered theatrics of latter-day Judy Garland. Exploring her lower register on the dazzling “World on a String” and the otherworldly piano ballad “Empires Never Know,” she felt a new sense of energy that led to her most adventurous music to date.\u003c\/p\u003e\n\u003cp\u003eNowhere is Pratt’s evolution clearer than on the closing track, “The Last Year,” which ranks among her most gorgeous and bittersweet compositions to date: a song that feels like it could have existed in the Great American Songbook for ages. “I think it’s gunna be fine\/I think we’re gunna be together\/And the storyline goes forever,” she sings, tapping into a universal resolution that offers what she calls a “weird optimism” at the end of a record that leads down some admittedly dark roads. (The “pitch” in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erefers to both “pitch darkness” and bitumen, the black viscous substance that forms deep below the surface of the earth.)\u003c\/p\u003e\n\u003cp\u003eIf a sense of hope is clear in Pratt’s words, it’s even clearer in her performance: placing her voice at the forefront and creating an emotional immediacy that sets this record apart from all her past work. “I never wanted it to take this long. I’m just a real perfectionist,” she explains of the album’s long gestation, which spanned from summer 2020 to the spring of 2023. “I was just trying to get the right feeling, and it takes a long time to do that.” With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e, Pratt comes as close as she ever has to this feeling of perfection, to music you can reach out and touch in the air around you, to summoning with every note the hope and mystery, the horror and romance, that lingers within the silence. Through these songs, she suggests those qualities are precisely what keeps us listening, over and over again, on the edge of our seats.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":48035847569709,"sku":"634457152311","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX325_Jp-HITP_LPMockup-1.jpg?v=1707922563"},{"product_id":"jessica-pratt-here-in-the-pitch-cd-pre-order","title":"Jessica Pratt - Here in the Pitch - CD","description":"\u003cp\u003eFrom the opening seconds of “Life Is,” it’s clear that\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”\u003c\/p\u003e\n\u003cp\u003e“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”\u003c\/p\u003e\n\u003cp\u003eIndeed, five years after her breakthrough album, 2019’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eQuiet Signs\u003c\/em\u003e—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators — multi-instrumentalist\/engineer Al Carlson and keyboardist Matt McDermott — Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”\u003c\/p\u003e\n\u003cp\u003ePratt quickly envisioned a more expansive set of influences—“big panoramic sounds that make you think of the ocean and California”—and the results are evident in the dynamic repertoire of instruments accompanying her graceful, dreamlike melodies. Throughout these nine songs, you will hear timpani and glockenspiel, baritone saxophone and flute alongside robust, layered vocal arrangements that create a triumphant mood, even when the lyrics hint at devastation.\u003c\/p\u003e\n\u003cp\u003eTo achieve this sense of musical resilience, Pratt cites\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePet Sounds\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas her “north star” in pursuing a fuller production style. But where plenty of artists look to the Beach Boys’ 1966 landmark as the untouchable precedent for symphonic grandeur, Pratt found herself drawn to the shadowy outskirts of those recordings. “It’s the atmospheric silence,” she explains. “There are times when you feel like you’re\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ejust\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehearing the studio for a moment. Those were always so intriguing for me as a young person, feeling like you could reach out and touch the texture of the sound in the air.”\u003c\/p\u003e\n\u003cp\u003eIf Pratt’s early albums—2012’s word-of-mouth favorite\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJessica Pratt\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand 2015’s devastatingly beautiful\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOn Your Own Love Again\u003c\/em\u003e—seemed beamed in from a dimly lit bedroom somewhere in the distant past, these songs stand on more solid ground. The tone can range from comforting and even chipper (“When you’ve fallen out, get both feet on the ground,” she reassures during the chiming chorus of “Life Is”) to a haunted, malevolent quality that feels entirely new in her songbook. “I became a bit of an amateur Manson historian over the period of time I worked on this record,” Pratt explains, noting the influence of Los Angeles’ strange, seedy history and the bleak end of the hippy era on songs like the twisted bossa nova groove of “By Hook or by Crook.”\u003c\/p\u003e\n\u003cp\u003e“I spend a lot of time worrying and imagining bad things happening,” Pratt confesses. “So maybe the idea of creatively inhabiting a character who wields the power is interesting.” You can hear this playfully villainous perspective emerging in her imagistic lyrics, although the clearest shift is in her vocal performance. While Pratt admits to always seeking inspiration from voices that sound like they’ve been “drug through life,” she worked on these songs to develop a fuller, more physical style that draws from the dignified baritone of Scott Walker and the weathered theatrics of latter-day Judy Garland. Exploring her lower register on the dazzling “World on a String” and the otherworldly piano ballad “Empires Never Know,” she felt a new sense of energy that led to her most adventurous music to date.\u003c\/p\u003e\n\u003cp\u003eNowhere is Pratt’s evolution clearer than on the closing track, “The Last Year,” which ranks among her most gorgeous and bittersweet compositions to date: a song that feels like it could have existed in the Great American Songbook for ages. “I think it’s gunna be fine\/I think we’re gunna be together\/And the storyline goes forever,” she sings, tapping into a universal resolution that offers what she calls a “weird optimism” at the end of a record that leads down some admittedly dark roads. (The “pitch” in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erefers to both “pitch darkness” and bitumen, the black viscous substance that forms deep below the surface of the earth.)\u003c\/p\u003e\n\u003cp\u003eIf a sense of hope is clear in Pratt’s words, it’s even clearer in her performance: placing her voice at the forefront and creating an emotional immediacy that sets this record apart from all her past work. “I never wanted it to take this long. I’m just a real perfectionist,” she explains of the album’s long gestation, which spanned from summer 2020 to the spring of 2023. “I was just trying to get the right feeling, and it takes a long time to do that.” With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHere in the Pitch\u003c\/em\u003e, Pratt comes as close as she ever has to this feeling of perfection, to music you can reach out and touch in the air around you, to summoning with every note the hope and mystery, the horror and romance, that lingers within the silence. Through these songs, she suggests those qualities are precisely what keeps us listening, over and over again, on the edge of our seats.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":48035859890477,"sku":"634457152632","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX325_Jp-HITP_CDMockup-2.jpg?v=1707922698"},{"product_id":"hayden-pedigo-ill-be-waving-as-you-drive-away-t-shirt","title":"Hayden Pedigo - I'll Be Waving As You Drive Away - T-shirt","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProduct Details:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan\u003eLimited Gildan Softstyle Tshirt printed by Beezer Printing, NY.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film \u003c\/span\u003e\u003cspan\u003eKid Candidate\u003c\/span\u003e\u003cspan\u003e, and creator of the acclaimed \u003c\/span\u003e\u003cspan\u003eLetting Go (2021)\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eThe Happiest Times I Ever Ignored (2023) \u003c\/span\u003e\u003cspan\u003enow embarks upon the release of his new album \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving as You Drive Away\u003c\/span\u003e\u003cspan\u003e and reveals his truest self.   \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSolidly honing in on his technical craft after two years of non-stop touring with the likes of Jenny Lewis, Devendra Banhart and Hiss Golden Messenger, Hayden Pedigo is ready to peel back the curtain and let the world in. His most emotionally candid record, more technically demanding and intricate than ever, “there’s something really human” about this release, Hayden professes. Produced by Scott Hirsch (Hiss Golden Messenger), there’s “no face paint, no blue skin, the character on the front is no longer a character — it’s actually just \u003c\/span\u003e\u003cspan\u003eme\u003c\/span\u003e\u003cspan\u003e. I’m trying to tell the audience, I actually want you to meet me, I want you to know who I am.” \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTaking cues from John Fahey’s hazy, weed-and-whiskey infused, tape-loop-heavy 1966 record \u003c\/span\u003e\u003cspan\u003eThe Great San Bernardino Birthday Party\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e is, reflects Hayden, not a straightforward solo guitar record. Unafraid to push the parameters of American primitive, the walls of the album’s world are fuzzed-up and glimmering. Afterall, it is vital to Hayden, to also be influenced by contemporary modern music in order not to make an esoteric, rambling solo guitar record. For example, Bladee’s \u003c\/span\u003e\u003cspan\u003eCold Visions\u003c\/span\u003e\u003cspan\u003e — “a masterclass of experimental rap music” — inspired some similarities in approach, despite the artists’ distinctly different genre backgrounds.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe album opens on ‘Long Pond Lily’, an outsized and fragrant bloom of intent; a simultaneous echo of Hayden’s previous work and a big, blousy departure. “It’s very heavy and huge” he reflects, “the low end is rattling on it — it sounds bonkers, and feels like it’s on the verge of going off the rails. It's \u003c\/span\u003e\u003cspan\u003eso\u003c\/span\u003e\u003cspan\u003e maximalist, so much more energetic than anything I’ve ever written.” The liquid metallicism and quietly cascading piano of ‘All the Way Across’ morphs into the doomy, sludgy electronics and mellotron choirs of ‘Smoked’ (inspired by Popol Vuh’s 1970s Werner Herzog soundtracks); the light touch, wings, string arrangements and glass sculptures of ‘Houndstooth’ and ‘Hermes’ are counterbalanced by the blurry \u003c\/span\u003e\u003cspan\u003eVictorialand\u003c\/span\u003e\u003cspan\u003e-era Cocteau Twins electric guitars of ‘Small Torch’. The title track is, says Hayden, “weirdly the least like-me song on the album; it’s doing a lot of things that I don’t think anyone’s heard in my music before. It feels like a 1950s Chet Atkins\/Merle Travis picking piece, very bright, very bouncy, very on-the-nose classic. It’s like I removed all irony from my music. It’s so sincere that I think it will be startlingly sincere, jarring even, for some people.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough not initially conceived as a triptych, \u003c\/span\u003e\u003cspan\u003eLetting Go\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Happiest Times I Ever Ignored\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e (AKA “The Motor Trilogy”) have since revealed their connections to their creator. “I like being surprised, slowly solving this puzzle of my own work. Now that I’ve finished this record it feels circular: if you end \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e and start again at the first track on\u003c\/span\u003e\u003cspan\u003e Letting Go\u003c\/span\u003e\u003cspan\u003e, it feels like you’re re-starting the movie — but the context grows deeper.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough we finally meet the maker, tenderly look him in the eye, it is all too brief;\u003c\/span\u003e\u003cspan\u003e I’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e plays itself out, and with a tip of the hat, a creak of the mechanical arm, a slam of the truck door and a puff of smoke, Hayden Pedigo is gone — just as quickly as he was revealed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ohSZYUKh_No?si=TQPDyn4ugr-_pSw9\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"S","offer_id":50608599892269,"sku":"184923437416","price":30.0,"currency_code":"USD","in_stock":false},{"title":"M","offer_id":50608599925037,"sku":"184923437423","price":30.0,"currency_code":"USD","in_stock":false},{"title":"L","offer_id":50608599957805,"sku":"184923437430","price":30.0,"currency_code":"USD","in_stock":false},{"title":"XL","offer_id":50608599990573,"sku":"184923437447","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/502170.jpg?v=1743453473"},{"product_id":"hayden-pedigo-ill-be-waving-as-you-drive-away-oklahoma-sky-blue-vinyl","title":"Hayden Pedigo - I'll Be Waving As You Drive Away - Oklahoma Sky Blue Vinyl","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduct Details:\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cspan\u003eOklahoma Sky Blue 140 gram vinyl in a standard jacket with signed artist photo and download card.\u003c\/span\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-75b1eb34-7fff-12ee-279f-19c91f76af7d\"\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film \u003c\/span\u003e\u003cspan\u003eKid Candidate\u003c\/span\u003e\u003cspan\u003e, and creator of the acclaimed \u003c\/span\u003e\u003cspan\u003eLetting Go (2021)\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eThe Happiest Times I Ever Ignored (2023) \u003c\/span\u003e\u003cspan\u003enow embarks upon the release of his new album \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving as You Drive Away\u003c\/span\u003e\u003cspan\u003e and reveals his truest self.   \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSolidly honing in on his technical craft after two years of non-stop touring with the likes of Jenny Lewis, Devendra Banhart and Hiss Golden Messenger, Hayden Pedigo is ready to peel back the curtain and let the world in. His most emotionally candid record, more technically demanding and intricate than ever, “there’s something really human” about this release, Hayden professes. Produced by Scott Hirsch (Hiss Golden Messenger), there’s “no face paint, no blue skin, the character on the front is no longer a character — it’s actually just \u003c\/span\u003e\u003cspan\u003eme\u003c\/span\u003e\u003cspan\u003e. I’m trying to tell the audience, I actually want you to meet me, I want you to know who I am.” \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTaking cues from John Fahey’s hazy, weed-and-whiskey infused, tape-loop-heavy 1966 record \u003c\/span\u003e\u003cspan\u003eThe Great San Bernardino Birthday Party\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e is, reflects Hayden, not a straightforward solo guitar record. Unafraid to push the parameters of American primitive, the walls of the album’s world are fuzzed-up and glimmering. Afterall, it is vital to Hayden, to also be influenced by contemporary modern music in order not to make an esoteric, rambling solo guitar record. For example, Bladee’s \u003c\/span\u003e\u003cspan\u003eCold Visions\u003c\/span\u003e\u003cspan\u003e — “a masterclass of experimental rap music” — inspired some similarities in approach, despite the artists’ distinctly different genre backgrounds.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe album opens on ‘Long Pond Lily’, an outsized and fragrant bloom of intent; a simultaneous echo of Hayden’s previous work and a big, blousy departure. “It’s very heavy and huge” he reflects, “the low end is rattling on it — it sounds bonkers, and feels like it’s on the verge of going off the rails. It's \u003c\/span\u003e\u003cspan\u003eso\u003c\/span\u003e\u003cspan\u003e maximalist, so much more energetic than anything I’ve ever written.” The liquid metallicism and quietly cascading piano of ‘All the Way Across’ morphs into the doomy, sludgy electronics and mellotron choirs of ‘Smoked’ (inspired by Popol Vuh’s 1970s Werner Herzog soundtracks); the light touch, wings, string arrangements and glass sculptures of ‘Houndstooth’ and ‘Hermes’ are counterbalanced by the blurry \u003c\/span\u003e\u003cspan\u003eVictorialand\u003c\/span\u003e\u003cspan\u003e-era Cocteau Twins electric guitars of ‘Small Torch’. The title track is, says Hayden, “weirdly the least like-me song on the album; it’s doing a lot of things that I don’t think anyone’s heard in my music before. It feels like a 1950s Chet Atkins\/Merle Travis picking piece, very bright, very bouncy, very on-the-nose classic. It’s like I removed all irony from my music. It’s so sincere that I think it will be startlingly sincere, jarring even, for some people.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough not initially conceived as a triptych, \u003c\/span\u003e\u003cspan\u003eLetting Go\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Happiest Times I Ever Ignored\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e (AKA “The Motor Trilogy”) have since revealed their connections to their creator. “I like being surprised, slowly solving this puzzle of my own work. Now that I’ve finished this record it feels circular: if you end \u003c\/span\u003e\u003cspan\u003eI’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e and start again at the first track on\u003c\/span\u003e\u003cspan\u003e Letting Go\u003c\/span\u003e\u003cspan\u003e, it feels like you’re re-starting the movie — but the context grows deeper.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough we finally meet the maker, tenderly look him in the eye, it is all too brief;\u003c\/span\u003e\u003cspan\u003e I’ll Be Waving As You Drive Away\u003c\/span\u003e\u003cspan\u003e plays itself out, and with a tip of the hat, a creak of the mechanical arm, a slam of the truck door and a puff of smoke, Hayden Pedigo is gone — just as quickly as he was revealed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ohSZYUKh_No?si=TQPDyn4ugr-_pSw9\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":50632033861933,"sku":"184923137408","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/3.jpg?v=1744213602"},{"product_id":"various-artists-maybe-im-dreaming-black-vinyl","title":"Various Artists - Maybe I'm Dreaming - Black Vinyl w\/ Limited Edition Print","description":"\u003cp\u003eProduct Details\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2xLP set on 140g black vinyl with widespine jacket and two printed inner sleeves.\u003c\/li\u003e\n\u003cli\u003eIncludes 12\" x 12\" full color print featuring original art by Dang Wayne Olsen. Limited to 350.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMaybe I’m Dreaming is the latest collection selected by Mikey Young (Total Control, Eddy Suppression Ring) and Keith Abrahamsson (Founder and Head of A\u0026amp;R at Anthology Recordings), the bent brains behind the beloved Follow the Sun and Sad About the Times compilations. The twenty tracks of Dreaming make a conscious, and unconscious, detour from its predecessors, sourced entirely from private press releases, spanning new decades and production modes within homespun folk, soft rock, and otherwise 70s and 80s FM radio adjacent music. The magic of Dreaming is the untold story of the artists behind these songs; those who missed the big time, but whose song craft and unrequited care hit the right notes, both high and low. There’s nothing else for you to do but listen and dream away. Featuring the third eye opening artwork of Dang Wayne Olsen.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Yxe7783HdNg?si=ZG2KAWrFWwiiga9X\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Anthology Recordings","offers":[{"title":"Default Title","offer_id":50737389437229,"sku":"184923613834","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ARC138_Dreaming_Mockups-LP-D2C-01.jpg?v=1747679101"},{"product_id":"cate-le-bon-michelangelo-dying-pink-galaxy-lp","title":"Cate Le Bon - Michelangelo Dying - Pink Galaxy LP","description":"\u003cp\u003eProduct Details\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e140g pink and white swirl vinyl with a printed inner sleeve.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eIts creation led by pure emotion, Cate Le Bons seventh record Michelangelo Dying usurped the album she thought she was making. The product of all- consuming heartache, her feelings overrode her reluctance to write an album about love, and in the process became a kind of exorcism. What emerges is a wonderfully iridescent attempt to photograph a wound before it closes up but which in doing so, picks at it too.\u003c\/p\u003e\n\u003cp\u003eMusically, there is a continuation and expansion of a sound a machine with a heart that has taken shape over her last two records (2019s Reward and 2022s Pompeii) as Le Bon has increasingly taken control of the playing and producing herself. As guitars and saxophones are pushed through pedals and percussion and voices are fed through filters, an iridescent, green and silky sound emerges, with flashes of the artistic singularities of David Bowie, Nico, John McGeoch and Laurie Anderson surfacing and disappearing below the waterline throughout.\u003c\/p\u003e\n\u003cp\u003eWhat were left with is an ever-changing, continuous entity, a kind of song cycle. Each iteration reflects and progresses the last, each one a shard of the same broken mirror shifting, glinting, concealing and revealing, depending on how it is turned in the light. There are ultimately, Cate asserts, No revelations. No conclusions. There is no reason. There is repetition and chaos. I eventually allowed myself a vacant mind to experience it without resistance and without searching for a revelation or order to any of it.\u003c\/p\u003e\n\u003cp\u003eAn exercise in the viscerality of life, of love, of humanity for both listener and artist, Michelangelo Dying knows what it is to hold, to be held, and to be exquisitely, profoundly alone. \"The characters are interchangeable\" concludes Cate, \"but at the end of it all, its me meeting myself.\"\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":50790415040813,"sku":"184923135336","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/LP-GalaxyPink.png?v=1758812721"},{"product_id":"cate-le-bon-michelangelo-dying-cd","title":"Cate Le Bon - Michelangelo Dying - CD","description":"\u003cp\u003eProduct Details\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e4 panel wallet with poster folder and an 8 page poster.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eIts creation led by pure emotion, Cate Le Bons seventh record Michelangelo Dying usurped the album she thought she was making. The product of all- consuming heartache, her feelings overrode her reluctance to write an album about love, and in the process became a kind of exorcism. What emerges is a wonderfully iridescent attempt to photograph a wound before it closes up but which in doing so, picks at it too.\u003c\/p\u003e\n\u003cp\u003eMusically, there is a continuation and expansion of a sound a machine with a heart that has taken shape over her last two records (2019s Reward and 2022s Pompeii) as Le Bon has increasingly taken control of the playing and producing herself. As guitars and saxophones are pushed through pedals and percussion and voices are fed through filters, an iridescent, green and silky sound emerges, with flashes of the artistic singularities of David Bowie, Nico, John McGeoch and Laurie Anderson surfacing and disappearing below the waterline throughout.\u003c\/p\u003e\n\u003cp\u003eWhat were left with is an ever-changing, continuous entity, a kind of song cycle. Each iteration reflects and progresses the last, each one a shard of the same broken mirror shifting, glinting, concealing and revealing, depending on how it is turned in the light. There are ultimately, Cate asserts, No revelations. No conclusions. There is no reason. There is repetition and chaos. I eventually allowed myself a vacant mind to experience it without resistance and without searching for a revelation or order to any of it.\u003c\/p\u003e\n\u003cp\u003eAn exercise in the viscerality of life, of love, of humanity for both listener and artist, Michelangelo Dying knows what it is to hold, to be held, and to be exquisitely, profoundly alone. \"The characters are interchangeable\" concludes Cate, \"but at the end of it all, its me meeting myself.\"\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":50790421430573,"sku":"762184287522","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX353_CLB-MD_Mockups_CD-1.jpg?v=1748963654"},{"product_id":"cate-le-bon-michelangelo-dying-black-lp","title":"Cate Le Bon - Michelangelo Dying - Black LP","description":"\u003cp\u003eProduct Details\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e140g black vinyl in a full color jacket and printed inner sleeve.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eIts creation led by pure emotion, Cate Le Bons seventh record Michelangelo Dying usurped the album she thought she was making. The product of all- consuming heartache, her feelings overrode her reluctance to write an album about love, and in the process became a kind of exorcism. What emerges is a wonderfully iridescent attempt to photograph a wound before it closes up but which in doing so, picks at it too.\u003c\/p\u003e\n\u003cp\u003eMusically, there is a continuation and expansion of a sound a machine with a heart that has taken shape over her last two records (2019s Reward and 2022s Pompeii) as Le Bon has increasingly taken control of the playing and producing herself. As guitars and saxophones are pushed through pedals and percussion and voices are fed through filters, an iridescent, green and silky sound emerges, with flashes of the artistic singularities of David Bowie, Nico, John McGeoch and Laurie Anderson surfacing and disappearing below the waterline throughout.\u003c\/p\u003e\n\u003cp\u003eWhat were left with is an ever-changing, continuous entity, a kind of song cycle. Each iteration reflects and progresses the last, each one a shard of the same broken mirror shifting, glinting, concealing and revealing, depending on how it is turned in the light. There are ultimately, Cate asserts, No revelations. No conclusions. There is no reason. There is repetition and chaos. I eventually allowed myself a vacant mind to experience it without resistance and without searching for a revelation or order to any of it.\u003c\/p\u003e\n\u003cp\u003eAn exercise in the viscerality of life, of love, of humanity for both listener and artist, Michelangelo Dying knows what it is to hold, to be held, and to be exquisitely, profoundly alone. \"The characters are interchangeable\" concludes Cate, \"but at the end of it all, its me meeting myself.\"\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":50790425133357,"sku":"762184287621","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/LP-1_2.png?v=1748963769"},{"product_id":"hayden-pedigo-live-in-amarillo-highway-hereford-snow-vinyl","title":"Hayden Pedigo - Live In Amarillo, Texas, Hereford Snow Vinyl","description":"\u003cdiv class=\"product-details\"\u003e\n\u003csection class=\"description product-description module\"\u003e\n\u003cdiv class=\"description-wrapper\"\u003e\n\u003carticle class=\"description-article article-blurb\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eShipping out on or around \u003cspan class=\"end\"\u003eSeptember 19, 2025\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduct Details:\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eHereford Snow 140 gram vinyl in a full color jacket with download card.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSomething happened. Between the summer of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Happiest Times I Ever Ignored\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand the night before Christmas Eve 2023, the music of Hayden Pedigo transformed. Back-to-back months of touring lead to incredible outcomes: First, his chops became more finely honed than ever before, lending a precision and versatility to the songs that would surprise even the most-seasoned Pedigo listener. Second, Hayden lived in these songs, translating them through improvisation and dynamic exploration into emotional juggernauts – instrumental music that sings to the audience.\u003c\/p\u003e\n\u003cp\u003eLanding in his hometown of Amarillo, Texas for the holidays to perform at The Amarillo Globe-News Center – home of the Amarillo Symphony – a gorgeous and beguiling set was recorded in front of a crowd of nearly five hundred people. Put to tape by Nathan and Joe Luscombe, mixed by Davis Hart, and mastered by Stephan Mathieu, Mexican Summer proudly presents Hayden Pedigo’s Live in Amarillo, Texas, an album that could one day be mentioned in the same breath as John Fahey's The Great Santa Barbara Oil Slick and Townes Van Zandt's Live at the Old Quarter.\u003c\/p\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":51263162876205,"sku":"184923137132","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX371-HP_LPMockup-White-1.jpg?v=1755700609"},{"product_id":"sessa-pequena-vertigem-de-amor-black-vinyl","title":"Sessa - Pequena Vertigem de Amor - Black Vinyl","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduct Details:\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e140g black vinyl LP, housed in full color jacket with 24\" x 12\" insert.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003ePequena Vertigem de Amor — the third full-length in Sergio Sayeg’s expanding catalogue as Sessa — is not just an evolution in the São Paulo artist’s sound; it is a transformation. Like a camera lens slowly zooming out, Sessa’s records reveal a progression from the private, carnal and earth-bound erotic desires probed on 2019’s Grandeza, to an exploration of the limits and possibilities in relationships between people in love on 2022’s Estrela Acesa.\u003cbr\u003e\u003cbr\u003eWith Pequena Vertigem de Amor, which translates to “Lil’ Love Vertigo,” Sessa’s view turns upward, to the infinite sky, catching glimpses of universality in the intimacy of becoming a father. Sessa says these songs “are a mix of personal chronicles and quiet meditations about life in the face of personal change, of experiencing something so big that you realize your insignificant size in space and time.”\u003cbr\u003e\u003cbr\u003eThis new perspective and reality remade his personal life and his connection to music: “For the first time I saw music move from the center to the side of my life.” The radical reordering of priorities presented fresh opportunities in his music. “In an interesting way, music became more mixed with my life,” Sessa notes, as he found ways to conjure melodies, lyrics and inspiration from\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethe daily rhythms of life.\u003cbr\u003e\u003cbr\u003eOn Pequena Vertigem de Amor, Sessa continues to expand his sonic palette, stretching in multiple dimensions simultaneously. There’s an emphasis on rhythm and enhanced tempos, as he experiments with new vocal cadences and textures, and adds a bunch of musical instruments not heard on his previous recordings, like piano, synthesizer, wah-wah guitar, and a primitive drum machine. Sessa tracked his existential transformation to magnetic tape at Cosmo, the studio he cofounded with Biel Basile, over five sessions between April 2024 and March 2025.\u003cbr\u003e\u003cbr\u003eSessa describes the album as “a bit more nocturnal, open-ended, crooked funky,” highlighting inspiration from soulful influences indigenous to North and South America, from Shuggie Otis, Roy Ayers and Sly Stone to Erasmo Carlos, Tim Maia and Hyldon. “I have this theory that the music that you fell in love when you were a teenager or in your early twenties really stains your soul,” he says, and the countless hours a young Sergio spent manning the counter at Tropicália in Furs, the legendary East Village record shop, cemented his love for soul music. “Going through stacks and stacks of soul 45s and classic soul records, at some point I realized I wasn’t gonna be that tight funky type of musician, so I decided to own the crookedness in my playing, a soft swing intrinsic to my upbringing in Brazil. My guitar playing went from the traditional Brazilian fingerpicking style to a more rhythmic full hand strumming playing.”\u003cbr\u003e\u003cbr\u003eThe emotional core and midpoint of the album evokes the stoned bucolic bliss of Erasmo Carlos’s introspective 1972 album Sonhos e Memorias 1941-1972, first with “Bicho Lento” (Slow Creature) \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003ewith its lackadaisical flute arrangement courtesy of frequent collaborator Alex Chumak (Soyuz) \u003c\/span\u003eand then transitioning seamlessly into Sessa’s most earnestly joyful composition, “Vale a Pena” (It’s Worth It). Sessa sets the vibe playing a Suette electric piano, an obscure Brazilian keyboard comparable to the Fender Rhodes. With a vocal delivery so relaxed as to suggest blissful exhaustion, Sessa croons, “pedras no caminho \/ brilhos no meu chão \/ dribles do destino \/ eu vou” (stones on the path \/ sparkles on my floor \/ destiny’s dribbles \/ here i go). On the second go-round, the singers Cecília Góes, Lau Ra, Ina \u0026amp; Paloma Mecozzi urge Sessa along, buttressing his fragile vocals, as Sessa disarmingly delivers these sentimental and direct lyrics that suggest an acceptance of the profound, unexpected and inevitable joys and pains of this new life phase: “vale a pena \/ viver vale a pena \/ estou com vocês \/ vale a pena \/ viver vale a pena \/ minha galera” (it’s worth it \/ living is worth it \/ i’m with you \/ it’s worth it \/ living is worth it \/ with my crew).\u003cbr\u003e\u003cbr\u003eAcross nine tracks, Sessa reflects on his personal evolution, an experience that he says brings into sharp contrast “the ambiguities and contradictions in life, which is a place that always has inspired my writing.” Pequena Vertigem de Amor, reminds us that experiencing vertigo is simultaneously terrifying and exhilarating, sentiments that this collection of Sessa songs delivers lyrically and musically, fusing novel and familiar sounds, styles and instruments in celebration and wonderment of life’s “ordinary and extraordinary” rites of passage.\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":51419204944173,"sku":"840460775946","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/Sessa-PVdA_LP-1.jpg?v=1757426266"},{"product_id":"sessa-pequena-vertigem-de-amor-cd","title":"Sessa - Pequena Vertigem de Amor - CD","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduct Details:\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eCD in 4 panel wallet with poster folder.\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003ePequena Vertigem de Amor — the third full-length in Sergio Sayeg’s expanding catalogue as Sessa — is not just an evolution in the São Paulo artist’s sound; it is a transformation. Like a camera lens slowly zooming out, Sessa’s records reveal a progression from the private, carnal and earth-bound erotic desires probed on 2019’s Grandeza, to an exploration of the limits and possibilities in relationships between people in love on 2022’s Estrela Acesa.\u003cbr\u003e\u003cbr\u003eWith Pequena Vertigem de Amor, which translates to “Lil’ Love Vertigo,” Sessa’s view turns upward, to the infinite sky, catching glimpses of universality in the intimacy of becoming a father. Sessa says these songs “are a mix of personal chronicles and quiet meditations about life in the face of personal change, of experiencing something so big that you realize your insignificant size in space and time.”\u003cbr\u003e\u003cbr\u003eThis new perspective and reality remade his personal life and his connection to music: “For the first time I saw music move from the center to the side of my life.” The radical reordering of priorities presented fresh opportunities in his music. “In an interesting way, music became more mixed with my life,” Sessa notes, as he found ways to conjure melodies, lyrics and inspiration from\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethe daily rhythms of life.\u003cbr\u003e\u003cbr\u003eOn Pequena Vertigem de Amor, Sessa continues to expand his sonic palette, stretching in multiple dimensions simultaneously. There’s an emphasis on rhythm and enhanced tempos, as he experiments with new vocal cadences and textures, and adds a bunch of musical instruments not heard on his previous recordings, like piano, synthesizer, wah-wah guitar, and a primitive drum machine. Sessa tracked his existential transformation to magnetic tape at Cosmo, the studio he cofounded with Biel Basile, over five sessions between April 2024 and March 2025.\u003cbr\u003e\u003cbr\u003eSessa describes the album as “a bit more nocturnal, open-ended, crooked funky,” highlighting inspiration from soulful influences indigenous to North and South America, from Shuggie Otis, Roy Ayers and Sly Stone to Erasmo Carlos, Tim Maia and Hyldon. “I have this theory that the music that you fell in love when you were a teenager or in your early twenties really stains your soul,” he says, and the countless hours a young Sergio spent manning the counter at Tropicália in Furs, the legendary East Village record shop, cemented his love for soul music. “Going through stacks and stacks of soul 45s and classic soul records, at some point I realized I wasn’t gonna be that tight funky type of musician, so I decided to own the crookedness in my playing, a soft swing intrinsic to my upbringing in Brazil. My guitar playing went from the traditional Brazilian fingerpicking style to a more rhythmic full hand strumming playing.”\u003cbr\u003e\u003cbr\u003eThe emotional core and midpoint of the album evokes the stoned bucolic bliss of Erasmo Carlos’s introspective 1972 album Sonhos e Memorias 1941-1972, first with “Bicho Lento” (Slow Creature) \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003ewith its lackadaisical flute arrangement courtesy of frequent collaborator Alex Chumak (Soyuz) \u003c\/span\u003eand then transitioning seamlessly into Sessa’s most earnestly joyful composition, “Vale a Pena” (It’s Worth It). Sessa sets the vibe playing a Suette electric piano, an obscure Brazilian keyboard comparable to the Fender Rhodes. With a vocal delivery so relaxed as to suggest blissful exhaustion, Sessa croons, “pedras no caminho \/ brilhos no meu chão \/ dribles do destino \/ eu vou” (stones on the path \/ sparkles on my floor \/ destiny’s dribbles \/ here i go). On the second go-round, the singers Cecília Góes, Lau Ra, Ina \u0026amp; Paloma Mecozzi urge Sessa along, buttressing his fragile vocals, as Sessa disarmingly delivers these sentimental and direct lyrics that suggest an acceptance of the profound, unexpected and inevitable joys and pains of this new life phase: “vale a pena \/ viver vale a pena \/ estou com vocês \/ vale a pena \/ viver vale a pena \/ minha galera” (it’s worth it \/ living is worth it \/ i’m with you \/ it’s worth it \/ living is worth it \/ with my crew).\u003cbr\u003e\u003cbr\u003eAcross nine tracks, Sessa reflects on his personal evolution, an experience that he says brings into sharp contrast “the ambiguities and contradictions in life, which is a place that always has inspired my writing.” Pequena Vertigem de Amor, reminds us that experiencing vertigo is simultaneously terrifying and exhilarating, sentiments that this collection of Sessa songs delivers lyrically and musically, fusing novel and familiar sounds, styles and instruments in celebration and wonderment of life’s “ordinary and extraordinary” rites of passage.\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":51419254948141,"sku":"840460776561","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/Sessa-PVdA_CD-1.jpg?v=1757426379"},{"product_id":"robert-lester-folsom-ode-to-a-rainy-day-archives-1972-1975-blue-velvet-vinyl","title":"Robert Lester Folsom - Ode To A Rainy Day: Archives 1972-1975 - Blue Velvet Vinyl","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAnthology Recordings is proud to make 'Ode To A Rainy Day' available once on limited-edition \"South Georgia Sun\" orange vinyl. 'Ode' is the first collection of unearthed, unheard material from Georgia's favorite folk hero Robert Lester Folsom. Fans of his 1976 private press grail 'Music and Dreams' will revel in the carefully curated assemblage of mellow gold, including the prescient, potent cuts \"See You Later, I'm Gone\" and \"Heaven on the Beach With You.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRobert Lester Folsom’s story isn’t all that uncommon in the parlance of his era. He spent the ‘60s growing up in Adel, Georgia, a small town nearer to Valdosta and Florida’s northern border than anything resembling rock \u0026amp;amp; roll, obsessing over his guitar as his craft and skills grew. Folsom would write and record a wealth of material in the early ‘70s, which make up the backbone 'Ode To A Rainy Day' – the first time these songs have been heard in decades. 'Ode' showcases both impeccable songwriting across light folk, downer pop, front porch rock and woodshed country tropes, combined with ingenious arrangements and technical skills across primitive recording equipment. The beauty of 'Ode' lies in its tracking of the seasons in its cycle, how each song feels like a different time of year.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFolsom’s legitimate debut would have to wait until\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e1976, when he self-released the album 'Music And Dreams,' which brings the ideas presented on 'Ode' into clear, polished relief, lushly appointed with synthesizers, clavinet, an army of percussion, and multiple tracks of orchestration and arrangements that’ll make you feel like you’ve heard any of these wonderful songs before. Folsom provides a homespun challenge to then-established artists as farflung as Todd Rundgren, Neil Young, and KC \u0026amp;amp; The Sunshine Band, albeit with touches that credit his upbringing from the decade prior. Had the record any manner of major label backing, it could’ve been a hit; as it stands 'Music And Dreams' has quietly amassed a cult following, with original copies trading for handsome sums.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Anthology Recordings","offers":[{"title":"Default Title","offer_id":51771784528173,"sku":"840526502721","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ARC008_RLF-OdetoaRainyDay_Mockup_LP-BlueVelvet.png?v=1769026447"}],"url":"https:\/\/mexicansummer.myshopify.com\/collections\/new-releases.oembed","provider":"Mexican Summer","version":"1.0","type":"link"}